Courtesy of Nick Briggs/Carnival Film and Television Limited 2013 for MASTERPIECE

Troubles from abroad, alluded to in the last episode, call for Lord Grantham’s presence in America. Cora’s brother is in some kind of trouble involving a Senate committee, and her mother believes Robert can help. “An English Earl as a brother-in-law will make him respectable?” asks Lord Grantham incredulously.

But Lord Grantham’s trip poses problems for Bates, who doesn’t want to leave Anna alone given her fragile state. Mrs. Hughes tries to petition Mary to let Bates stay, but she gets little sympathy. “I hope we are good employers, but even we expect to get what we pay for,” says Mary. After learning the truth, Mary convinces her father to take Thomas to America instead of Bates. When he questions her, Mary tells Bates that she knows Anna was attacked.

An eager Thomas is packing for the big trip while Jimmy readily admits he is envious. When Thomas asks Jimmy if he’d miss Ivy, Jimmy dismisses the matter as a “waste of money and effort.” Right before departing, Thomas instructs Baxter to find out why Bates didn’t go on the trip.

Molesley, who for better or worse has no filter, asks Baxter what Thomas meant about expecting a report. Lord Grantham secures passage on the Cameronia for New York, and is off.

Mary’s Many Suitors

Evelyn Napier, Lady Mary and Charles Blake

Courtesy of Nick Briggs/Carnival Film and Television Limited 2013 for MASTERPIECE

With Lord Grantham gone, tension builds up between Mary and Blake on estate affairs. “To farm an estate is hard work, and never more than now,” he says. “The owners must face up to that, or they don’t deserve to keep what they have.”

Mary is shocked when Napier tells her that Blake thinks she’s aloof. “Charles thinks I’m blind where you’re concerned,” adds Napier, trying to hint at his true feelings. After an awkward pause, Mary changes the subject and walks away.

The sting of Blake’s remark clings as Mary asks Anna whether she’s aloof. “Do you want me to answer truthfully or like a lady’s maid?” asks Anna. At that point, Anna thanks Mary for sparing Bates from the trip to New York. Mary tries to discuss what happened with Anna, as well as identifying the rapist, but Anna can’t bear to talk about it.

Later on, Mary and Cora discover that they are alone to dine with Blake because Napier has gone off to dinner elsewhere. “How can two brainless dullards like us ever hope to entertain Mr. Blake?” asks Mary. Cora looks embarrassed and points out Mary’s rudeness. “I can take it,” says Blake, who proceeds to inquire about the pigs. He then suggests they walk down to see them after dinner, and Cora excuses herself, setting up the perfect “getting to know you” session.

When they go on their walk, Mary, still dressed in her dinner dress, is alarmed when Blake notices an ill pig. “He’s dehydrated,” says Blake, who can somehow identify the problem immediately. He’s a man of action, and takes off his jacket and jumps the fence. He grabs some pails to get them some water, and looks surprised when Mary also fetches some buckets to help.

It is nightfall when we see Blake and Mary, both filthy with mud over their fine garments, still fetching pails of water for the pigs. Mary even slips in the mud and refuses help from Blake. Even the servants are going to bed by this time, while Mary and Blake are still tending to the pigs. When he tells her she should go, Mary says, “I’m not going; they’re my pigs.” This is the perfect test that both of them needed in order to overcome preconceptions about the other. The stage is set.

Blake gives Mary his coat to stay warm, and Mary wonders how awful she must look. Blake makes a remark about her being in the country, and then playfully flings mud at her. Mary responds by smearing mud on his face as they both laugh. Here we go—this is the kind of challenging man that Mary likes, not a Gillingham with lame, romantic entreaties.

They go back to the house and Mary whips up scrambled eggs with wine in the servants’ kitchen. “So you’re a practical farmer as well as a theoretician,” says Mary. “I didn’t expect to see you as a cook and a water carrier,” replies Blake. It’s a night of good discoveries, as Blake says, for both of them.

When Ivy walks into the kitchen—and we see here that Mary doesn’t even know her name, as Ivy spends most of her time downstairs–Mary and Blake realize it’s time for them to go to bed.

The next day, Mary learns that Gillingham is stopping for a visit on the way to Inverness. It seems that this is indeed a small world, as Blake also knows Gillingham—they served in the war together. Napier, meanwhile, indicates to Mary that she made a good impression with Blake. “I’m afraid it’s increased the competition,” he says awkwardly. The men are swarming around Mary!

When Gillingham shows up, he’s mum about his fiancee, Mabel Lane Fox. But it’s clear he misses Mary, and when he learns that Blake is staying with them, he says, “Don’t get to like him better than me.” When Gillingham is reunited with Blake, they chat about the pigs incident with Mary. “It’s always best to leave something for another time,” jokes Mary when Blake mentions how it looked like they were wrestling in mud. Gillingham doesn’t laugh.

Mary’s choices are clear: a fawning Napier (who has never been a contender since he keeps introducing Mary to other eligible men), a lovelorn Gillingham or the challenging Blake. She only has true chemistry with one.

Edith’s Big Decision

The mystery of Michael’s disappearance continues, as Edith learns that her lover arrived in Munich, signed in to his hotel, went out for the night and never returned. When she asks her mother if she’s bad, Cora replies, “We all have bad feelings; it’s acting on them that makes you bad.” Uh oh, she’s getting no emotional freebies if contemplating something desperate like an abortion.

Edith plans a trip to London, which is music to Rose’s ears. She wants to tag along, even though she will be presented (it was 1958 when the last group of debutantes to curtsied in front of the Queen) in a few months.

Once in London, Rose uses the old “errands” excuse to sneak off and see Jack Ross. They go boating together, when Ross finally asks the obvious question: “What can we hope to come out of all this?” Rose tells him to live in the moment, and says, “Vive la différence!” Ross replies, “Do you think Lord Grantham will enjoy the différence?” Later on, Rose sneaks back into the house late at night.

Meanwhile, Edith breaks down in front of Aunt Rosamund when the subject of Michael comes up. She reveals all, including the baby, and confesses that she plans to have an abortion. Aunt Rosamund tries to dissuade her. “You’re not being fair,” she says. “I will support you whatever you decide, just as Cora will—and Robert.” (This is surprising compassion coming from Rosamund, considering her harshness earlier.) “That sounds like a speech from ‘The Second Mrs. Tanqueray,’” says Edith, referencing the Arthur Wing Pinero play about “a woman with a past” and sexual double standards of the late-Victorian era.

Rosamund reminds Edith that she might have to explain what happened, if she proceeds with her plan, to Michael when he returns. Edith says she won’t mention any of it to him. “So your whole life will be based on a lie—have you thought about that?” says Rosamund. “I am killing the wanted child from the man I’m in love with, and you ask me if I’ve thought about it,” says Edith. With Edith resolute, Rosamund says she will come with her to the clinic.

After arriving at the clinic, Edith confides to Rosamund that she doesn’t want to be an outcast, and that she won’t ever be able to go to the nursery to see young George and Sybbie. When she hears another woman crying in the room next door, Edith goes to look and suddenly has a change of heart. “This is a mistake,” she tells the nurse, and grabs her bag to leave.

Rose starts to get whiny when she learns that Edith is heading back to Downton early, as this no doubt spoils her secret plans with Ross. Rosamund offers her support should Edith need someone there for her when she tells Cora.

The Return of Green

Lord Gillingham’s arrival means the return of the evil Mr. Green. When he shows up and Anna walks into the room, she freezes and makes an excuse to leave. Mrs. Hughes later confronts him in the boot room. “I know who you are and I know what you’ve done,” she says. “If you value your life, I should stop playing the joker and keep to the shadows.” Without looking shaken at all, Green proceeds to lie about his crime and blame booze for what happened. “We’re both to blame,” he says. When Green learns that Bates doesn’t know, he thanks Mrs. Hughes. “Don’t you dare thank me,” she hisses. “I’ve not kept silent for your sake.”

When the staff is having dinner, the conversation shifts to the evening that Dame Melba sang at the house. When Baxter says she wished she had heard her sing, Green describes her singing as “screaming and screeching.” Oops. Here’s where he reveals that he came downstairs during the performance. We see one last lingering, deadly stare from Bates as his suspicion is finally confirmed.

The Dowager Countess Falls Ill

Heaven forbid, Dowager Countess is coming down with something! I know I am not alone in hoping she doesn’t get the Fellowes treatment; the end of Violet would mean the end of the show’s best lines. Mrs. Crawley, sensing that something might be wrong, stops by to find Violet in bed. It is strange to see Violet so vulnerable here, and Mrs. Crawley—so natural in the caretaker’s role—fetches Dr. Clarkson.

It turns out that Violet has bronchitis, and will need supervision and a lot of care so she doesn’t come down with pneumonia. Isobel volunteers to look after her, and waves off Dr. Clarkson’s concern about how challenging the task will be.

When Mary and Cora come to visit, the Dowager Countess, who looks out of sorts, asks: “Why is the food so disgusting?” To which Isobel quickly replies, “She doesn’t know what she’s saying.” Violet continues: “Everything she puts in my mouth is absolutely disgusting.”

Even in her delirium the Dowager Countess continues to delight with her one-liners. “I want another nurse,” she says to Dr. Clarkson. “I insist; this one talks too much—she’s like a drunk vicar.”

When Violet finally gets better (whew!), Dr. Clarkson reveals to her that it was Isobel who nursed her back to health, not eating or sleeping during the entire ordeal. Isobel doesn’t look tired at all, and in fact looks rejuvenated and eager to continue being by Violet’s side. When Isobel suggests that she’ll come back and even offers a game of cards, and Violet agrees, and Dr. Clarkson tells her she’ll be rewarded in heaven. “The sooner the better,” she quips.

Later that night, the Dowager Countess and Isobel are playing gin, and Violet looks to be having a genuine good time. When Isobel says the game can last “ages,” Violet says, “Oh, goody goody.” Perhaps Isobel will change her yet!

Alfred Returns (Briefly)

Alfred writes from London to say he might stop in at Downton because his father’s ill. Ivy is suddenly keen on this news as her relationship with Jimmy has soured. “Why should you care?” asks Daisy. Subtlety has never been her strength.

Mrs. Patmore and Mrs. Hughes tell Carson that it’s not a good idea for Alfred to be visiting so soon, given the tension between Daisy and Ivy, but Carson has no way of reaching Alfred’s parents. Carson tries to think of excuses he can give Alfred, but comes up with nothing good. It takes Mrs. Hughes’s wits to use the flu as an excuse. “You’re quite a plotter when you want to be, aren’t you?” asks Carson. “It’s a skill all women must learn,” says Mrs. Hughes.

Alfred stays at the pub instead, but decides to pop in to Downton the next day. Ivy immediately brightens and says how much she’s missed him. He seems genuinely torn about returning to London for his course. More trouble ahead for Ivy and Daisy.

A New Love Interest for Branson?

Tom Branson meets a woman at the town hall.

Courtesy of Nick Briggs/Carnival Film and Television Limited 2013 for MASTERPIECE

Mrs. Crawley, who has become somewhat of a confidante to Branson, convinces him to attend a lecture by MP John Ward in Ripon. But because of Violet’s illness, Isobel can no longer go with him to the event.

When Branson arrives at the town hall, he tries to take a seat next to a woman who is reserving it for a friend. When she later signals for him to go ahead and take the seat, John Ward takes notice and makes a remark about how they’ve all been made privy to a romantic story. They exchange some friendly chit chat, and perhaps there is more to come.

Readers, what did you think of this episode? Leave your thoughts in the comments.

About Speakeasy

Speakeasy is a blog covering media, entertainment, celebrity and the arts. The publication is produced by Barbara Chai and Jonathan Welsh with contributions from the Wall Street Journal staff and others. Write to us at speakeasy@wsj.com or follow us on Twitter at @WSJSpeakeasy or individually @barbarachai.